Individual Against Society in a Doll’s House and Porphyria’s Lover

Browning’s dramatic monologues, Porphyria’s Lover and My Last Duchess, serve as poignant critiques of the restrictive patriarchal values that defined Victorian society, stifling women's quest for individualism. Similarly, Ibsen's play A Doll’s House challenges the facade of an ideal marriage entrenched in social hierarchy through the experiences of its female protagonist, Nora. Both authors illuminate the dire consequences that arise when their characters attempt to defy societal norms.

Subverting Patriarchy in Porphyria’s Lover

In Porphyria’s Lover, Robert Browning confronts the oppressive patriarchal values of Victorian England, which often marginalized women's roles. During the 1800s, women faced widespread misogyny, leading to a significant restriction of their autonomy. Browning subverts these stereotypes through the character of Porphyria, who defies social conventions by visiting her lover in the dead of night. The use of pathetic fallacy in the opening lines, “The rain set early in to-night / The sullen wind was soon awake,” establishes a turbulent emotional backdrop that foreshadows the tragic consequences of Porphyria’s independence.

As Porphyria “laid her soil’d gloves by” and “let the damp hair fall,” she embodies the archetype of the ‘fallen woman,’ condemned by Victorian standards for her perceived immorality. Browning emphasizes her self-determination through polysyndeton in the lines, “And made her smooth white shoulder bare… And spread, o’er all, her yellow hair,” creating a sensual atmosphere that directly challenges the era's constraints on female behavior. Nevertheless, the repetition of “that moment she was mine, mine fair” reveals a troubling role reversal, underscoring her lover’s objectification and possessiveness. The chilling climax occurs when the lover strangles Porphyria with her own hair, a once-symbolic representation of femininity that becomes a tool of silencing, thus reflecting the oppressive nature of Victorian society.

Furthermore, Browning employs the religious allusion, “And yet God has not said a word!” to highlight the disturbing acceptance of the lover's actions, contrasting sharply with the condemnation of Porphyria’s sexual autonomy. Through this examination, Browning critiques the suppression of women's sexuality in Victorian England, ultimately advocating for greater recognition of their individuality.

Nora’s Rebellion in A Doll’s House

In A Doll’s House, Henrik Ibsen similarly challenges the expectations placed on bourgeois women, particularly through Nora’s struggle against her prescribed domestic role. The male dominance that restricts women's self-determination is epitomized in Torvald's patronizing animal imagery, referring to Nora as “my little lark” and “squirrel,” which reflects the inherent inferiority assigned to women during this era. This dynamic is further emphasized in stage directions that show Nora “playing with buttons, not looking at him,” reinforcing her subservient position in the relationship.

Torvald’s condescending remarks, such as “Just like a woman!... you know what I think about that. No debt! No borrowing!” exemplify societal assumptions regarding women’s irresponsibility. This theme is echoed in Mrs. Linde’s statement, “A wife can’t borrow without her husband’s permission,” illustrating the pervasive limitations placed on women. However, Nora defies these norms by working to repay a loan, “almost like a man,” signifying her challenge to traditional gender roles.

The frantic tarantella dance, coupled with Ibsen’s stage direction “[Nora’s] hair falls…she pays no attention,” symbolizes her burgeoning independence and reflects her desire to break free from societal constraints. Ibsen’s critique of the suppression of female autonomy is evident as Nora ultimately recognizes the pretense of her marriage. The motif of clothing, particularly her declaration of “Changing. No more fancy dress,” underscores her transformation and empowerment, distinguishing her journey from the Duchess’s tragic fate in Browning’s monologue.

Consequences of Female Individuality

Browning’s My Last Duchess further explores the implications of a woman’s subversion of social hierarchy. The Married Woman’s Property Act of 1882 allowed women to retain their possessions post-divorce, exposing the facade of marriage as women began to reject their traditional roles. In the Duke’s declaration, “my last duchess painted on the wall,” the artwork symbolizes his objectification of his deceased wife, reducing her existence to mere aesthetics.

The parenthetical aside, “(since none puts by / The curtain I have drawn for you, but I),” illustrates the Duke’s arrogance as he presents his late wife as an object that enhances his social status. His disdain for her “spot of joy” epitomizes patriarchal condemnation of female joy and independence, while the symbolism in “She liked whate’er she looked on, and her looks went everywhere” foreshadows her tragic downfall. Browning's use of truncated sentences, such as “This grew; I gave commands,” reflects the Duke’s tyrannical behavior and the consequences of the Duchess’s failure to conform to societal expectations.

In conclusion, both Browning and Ibsen expose the dire consequences faced by their characters as they strive for individuality against societal constraints. While Browning presents the tragic repercussions of defying Victorian propriety, Ibsen illustrates the empowerment that arises when women reject the constraints of marriage. Together, these works highlight the necessity for women to assert their autonomy and challenge the oppressive norms of their time.

Summary Table of Themes and Characters

Through their respective narratives, Browning and Ibsen challenge the societal restrictions placed upon women and advocate for greater autonomy and self-determination. Their works remain relevant today as they continue to resonate with contemporary discussions surrounding gender roles and individual freedom.

References:

• Browning, R. (1836). Porphyria’s Lover.
• Browning, R. (1842). My Last Duchess.
• Ibsen, H. (1879). A Doll’s House.